DOCSLIB.ORG

T-Bone Walker Guitars "Once I'd Heard Him for the First Time, I Knew I'd Have to Have an 1930 – 50S - Gibson ES-250 Electric Guitar to Myself

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
T-Bone Walker Guitars Spytunes Blues Legacy – Credits Blues Legacy - Credits This eBook was written by Sandy Buglass and Dan Lundholm. In The Style Of compositions where played by: Sandy Buglass – Guitar Dan Lundholm - Bass Paul Hannon – Drums Dan Lundholm – Audio/Video Production In The Style Of Transcriptions by: Adrian Clark All copyright of ‘Spytunes Blues Legacy’ remain of Spytunes Ltd. 2 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – Index Blues Legacy - Index 4. Intro 5. T-Bone Walker 17. Albert King 22. B.B. King 31. Freddie King 44. Eric Clapton 52. Peter Green 59. SRV 68. John Mayer 76. Outro 3 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – Intro Blues Legacy - Intro Introduction The Blues Legacy is a ‘in the style of’ product designed to demonstrate how the electric guitar as we know it today has evolved and why we play it the way we do. In doing so, it will enable you to have a better grasp and understanding of not only the Blues but the roots of all contemporary music. As the great bassist/composer Willie Dixon said: “The Blues is the roots, the rest are the fruits” A Brief Background Though electric blues was pioneered in the late 1930s and 40s, particularly in areas such as Texas and Chicago, the roots of the blues date back much further. Originating from African-American work, gospel and spiritual songs in the Mississippi Delta in the late 19th century, the music evolved from basic field hollers and work songs used by slaves during the days of plantations, to a standardized 8, 12 or 16 bar framework. As we learn from the players that have made the style famous since then, we discover how the evolution of popular music and the guitar has gone hand in hand. In The Style Of To get you playing “In The Style Of” these great players we have put together live “In The Style Of” backing tracks. Use these to play the original riff and solo, come up with your own variation or learn exactly what I’m playing using the “In The Style Of” video and the transcription. When you feel ready; upload your version as a video response via YouTube to get feedback from other users at Spytunes. I wish you the best of luck in your journey -Sandy Buglass 4 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker Aaron Thibeaux “T-Bone” Walker Where better to start than with electric blues Godfather, Mr T-bone Walker, our first Texan in Spytunes Blues Legacy. T-Bone was born in Liden, Texas, 1910. Ever the performer and showman, T-Bone began his professional life performing as a dancer and banjo player as part of local carnival shows. Like so many Texans before him, T-Bone moved to California (Texas musicians went to California to record, Mississippi Delta players tended to go to Chicago, Illinois) to record and it was here that Walker got his hands on one of the first electric guitars. The rest, as they say, is history. Walker made his mark in musical legend by cutting his first blues recordings with an electric guitar around 1939. Walker did to Blues what Charlie "When T-Bone Walker came, I Christian did for jazz guitar (In fact, was into that. the two spent a lot of time with That was the sound I was looking for." each other and regularly played - Albert King together) Walker was one of the first (if not THE first) electric blues men who took the guitar from an instrument that simply accompanied other instruments, to one which performed single note lead solos like a trumpet or sax player would. He was also a pioneer of stage craft and invented classic moves such as the infamous ‘playing with the teeth’ (A trick later adopted and made famous by Chuck Berry and Jimi Hendrix). He was a consummate showman, even playing his guitar at a right angle to his body! 5 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker T-Bone Walker - Gear T-Bone lived and performed long before the use of guitar pedals and Marshall stacks, so his set-up was pretty basic. Over his long career the electric guitar evolved but T-Bone remained a faithful Gibson man, his model choices can be divided into different eras. T-Bone Walker Guitars "Once I'd heard him for the first time, I knew I'd have to have an 1930 – 50s - Gibson ES-250 electric guitar to myself. Had to have one, short of The follow up of Gibson’s first stealing!" -B.B. King electric jazz guitar (the ES-150) the ES-250 had a blade style pickup, which later became known as the Charlie Christian Pickup. Both T-Bone and Charlie Christian used this guitar. 1950 – 70s - Gibson ES-5 The ES-5 was Gibson’s 3 pickup Deluxe model. T-bone used this guitar for the majority of his career. 70s – Gibson ES-335 This was possibly Gibson’s most famous semi-hollow model and was used by Clapton and Freddie King as well as the late T-bone Walker. 6 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker Gibson Barney Kessel model As well as the 335, T-bone also dabbled with the Gibson Barney Kessel Model. This guitar was launched alongside the Johnny Smith guitar, making Gibson a pioneer in signature guitars. The model was available between ’61 and ’73 as a regular and custom model. T-Bone Walker Amps Gibson EH-150 Gibson’s ES-150 guitar came with an amp called EH-150, named so since together they cost $150. Fender Bassman Fender’s classic 4 by 10 design was aimed at bass players, but many guitar players came to Did you know? favour it as well. This amp is what Marshall based their first Blind Lemon Jefferson designs on, so its legacy is huge. (Phenomenal acoustic bluesman) was a family friend of T-Bone, so Modern players still use the amp; as a youngster, T-Bone used to lead Jefferson around to different for example, Brian Setzer of bars to play the Blues. Stray Cats is a huge Fender Bassman fan. 7 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker T-Bone Walker Legacy T-Bone is perhaps the most influential of all our blues legacy players, mainly because he almost single-handedly invented electric blues lead playing on the guitar. Unfortunately, he is often overlooked in favour of more recent guitarists, such as B.B King and Jimi Hendrix. Walker’s popularisation of the minor pentatonic blues box (which ironically is now considered by some to be somewhat basic) was revolutionary during his day. Though many of Walker’s licks have now become fairly cliché, it must be remembered that he was the first to play them the way he did and was the first to execute them properly on the electric guitar. T-Bone also added flavour to his playing by borrowing from jazz players and used notes from outside the minor pentatonic and blues scales such as the ‘2nd’, ‘6th’ and the major ‘3rd’. As the Blues Legacy discusses, this can also be seen as mixing minor and major pentatonic scales. An often over looked aspect of Walker’s influence was his use of chords, particularly the 9th chord. Before T-Bone, most guitarists would simply use 7th chords over blues progressions, so his use of 9th was simply unheard of. T-Bone Stylistic Traits - Sliding 9th chords - ‘Single note’ solos - Large use of pentatonic ‘boxes’ - No vibrato (Very important, vibrato didn’t become part of the guitar’s arsenal until around the 1950/60’s) - Slight bending (DO NOT over-bend, under-bend!) 8 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker In The Style Of Papa Ain’t Salty The solo is primarily based around the first position of the G minor pentatonic with hints of G Mixolydian (particularly the 6th and 9th) With the picking hand, make sure you’re picking fairly close to the bridge with the neck pick up selected (This allows for a much more vintage and authentic sound) As the song progresses, double stops start to appear as well as more single note lines. To enhance theses double stops, I down pick all of them for a more authentic feel and sound (The difference between using down strokes and alternate picking everything, is massive) During bars 13 – 24, I begin to play through the chords a bit more rather than implying only the G minor pentatonic/G Mixolydian over everything. Over the IV chord (in this case C9) I imply C Mixolydian and over the V (D9) I imply D Minor Pentatonic. I still use G minor pentatonic/ G Mixolydian over the I (G9) Think about the ideas/concepts listed below as you record your video response: - Listen/watch very carefully to the bending style (It’s very different to the modern bending technique) - No vibrato (If you add vibrato, you’ll loose the authenticity and sound much more modern) - In terms of tone, select the neck pick up and aim for that half way point between clean and the amp ‘breaking up’ (Add a nice dollop of reverb too) 9 Spytunes Blues Legacy © 2009-2010 Spytunes Blues Legacy – T-Bone Walker - Pick nearer the bridge for a more vintage sound - Practice switching between playing the licks using alternate picking as well as just using down strokes. The difference in feel/tone is huge and I personally prefer to down pick a lot of T-Bone licks as to my ears, it adds to that vintage feel.
Load more

Recommended publications
  • The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
    ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura.
    [Show full text]
  • NIU Jazz Audition Requirements
    NIU Jazz Audition Requirements Please review and prepare all requirements thoroughly. Auditions are held in person at NIU in January and February, unless otherwise determined. Please register for an audition date on our website. If you are unable to attend NIU’s audition days, you will need to contact the Music Admissions Coordinator ([email protected]) for permission to schedule an independent audition or obtain approval to submit an unedited video audition. Please bring copies of your music for the adjudication panel. • Technique • Assigned audition excerpt (please see below for respective studio excerpts) • Scales, full range • Major: Bb, E and Ab; E melodic minor; C harmonic minor; Chromatic scale • Guitar* - major, natural and harmonic minor - multiple positions; pentatonic • Triad arpeggios, full range • Major; C, Eb, F# • Minor: D, F, Ab • Guitar*: Major and minor triads; diatonic 7th chords (Maj7, Min7, Dm7, Min7b5), 2 octaves • Improvisation • Blues melody of choice and 2 choruses of improvisation (*rhythm section players must also comp appropriate to style for 2 choruses) • Rhythm changes or standard melody of choice and 1 chorus of improvisation (*rhythm section players must also comp appropriate to style for 1 chorus) • Reading • Sight reading of music appropriate for level of entrance (including chord reading for bass, guitar and piano • Graduate candidates also prepare • Rhythm changes and standard melody of choice • Ballad of choice, 2 choruses maximum including melody and improvisation (unaccompanied, chord melody for guitar) • One transcription example All auditionees must adhere to Technique, Improvisation, and Reading requirements. If you are auditioning only for the undergraduate Music Minor, you will complete all Technique and Reading requirements, and only the blues melody under Improvisation.
    [Show full text]
  • A Different Drummer I
    A Different Drummer Even music can be intoxicating. Such apparently slight causes destroyed Greece and Rome, and will destroy England and America. I. Over the course of his long teaching life, Allan Bloom looked out upon a revolution in the manners and morals of students, and in the latter part of his life, he surveyed it in his book, The Closing of the American Mind . Those who were once civil acted savage, those who were noble, or might be, acted bad, and the good just act ed "nice. " Many are the causes of this revolution that Bloom discerned, but none was more surprising to his readers than Rock music. Bloom charged it with impoverishing the souls of American students. The pleasure Rock provides is selfish, coarse, masturbational, and addictive, he said, and he reported that even those who liberate themselves from it, seldom regain the capacity to feel anything deeply, to care for another human being, or to long for something great . Rock music awakens in the young no hero worship, except for the likes of Mick Jagger, no hero he. In truth, Rock music is very different from the music that might accompany a soldier marching, a woman praying, the young courting, or a philosopher teaching, for example teaching Mozart , as Bloom did . In it there is nothing that prepares a soul for leisure, for war, or for festivity. Yet Ro ck's corruption of the young had, Bloom observed, not been forbidden by parents, its enfeeblement of the mind had not been opposed by the no-longer in-loco- parentis universities, and its weakening of the nation had been ignored by statesmen.
    [Show full text]
  • Catalogo Xpress
    Descrizione LP Casa discografica Label Codice AA VV: Dixieland Time 1ducale jazzDJZ 35912001 AA VV: Esquire's all american hot jazz 1rca victorLPM 3404012002 AA VV: History of classics jazz 5riversideRB 00512003 AA VV: Jazz and hot dance in Italy 1919-48 1harlequinHQ 207812004 AA VV: Jazz in the movies 1milanA 37012005 AA VV: Swing street 4columbiaJSN 604212006 AA VV: The Changing face of Harlem 2savoySJL 220812007 AA VV: The Ellingtonians 1pausaPR 903312008 AA VV: The golden book of classic swing 3brunswich87 097 9912009 AA VV: The golden book of classic swing (vol. II) 3brunswich87 094 9612010 AA VV: The Royal Jazz Band 1up internationalLPUP 506712011 AA VV: A bag of sleepers (volume 1) - Friday night 1arcadia200312012 AA VV: A bag of sleepers (volume 2) - Hot licks 1arcadia200412013 AA VV: Tommy Dorsey a Tribute 1sounds greatSG 801412014 Abeel Dave, Tailgate King Joe, Wix Tommy, Goodwin Ralph, Calla Ernie, Price Jay: A night with The Knights - The Knights of Dixieland 1 jazzology J 004 12015 Adams Pepper, Byrd Donald, Jones Elvin, Watkins Doug, Timmons Bobby: 10 to 4 at the 5-Spot 1 riverside SMJ 6129 12016 Adderley Cannonball: Cannonball and Eight Giants 2 milestone HB 6077 12017 Adderley Cannonball: Coast to Coast 2 milestone HB 6030 12018 Adderley Cannonball: Discoveries 1 savoy SJL 1195 12019 Adderley Cannonball: Live in Paris April 23, 1966 1 ulysse AROC 50709 12020 Adderley Cannonball: The Cannonball Adderley Quintet Plus 1 riverside OJC 306 12021 Adderley Cannonball: The Sextet 1 milestone NM 3004 12022 Adderley Cannonball, Adderley
    [Show full text]
  • NOTZ EDFS PRIE Is Provided for Humanities Courses. Stunts
    DOCUMENT BESUM 1. ED 211 442 ..10 C13 E45 / ! . AN ' AUTHOR Levine,, iPby H. TITLE Jumlistreet Humanities Project Learning Package. Curriculum Materials fcr Secondary Schtel Teachers and Students in Language Arts, faster)/ and Himavities. 'INSTITUTION National Endowment for the Humanities (NFAH) , Washington, D.C\ Elementary and 6eccndary Program- i PUB DATE 81 NOTZ 215p. P EDFS PRIE MF01/PC09 Plus Postage. DESCRIPTORS Black AchieveMent; Elack History; Blacks;,31cBlack Studies; Ethnic Studies; *Humanities Instruction; *Interdisciplinary 'Approach; *Language Arts; Musit Appreciation; *Music Eduation; Musicians; Secondary Education; *United States History; Units cf Study `ABSTRACI These language arts, U.S. history, and humanitges lessons for .secondary school student's are designed tc he used with "From Jumpstreet,A Stcry of Black Music," a series of13 half-hour terevIsiorli prOgrams. The'colorfgl-and rhythmic serifs explores the black muscal heritage from its African roots to its wide influence in.mcder/f American music. Each program of the series features ' performatmes end discussicn by talented contemporary entertainers, plusafilm clips and still photo sequences of Campus clack performers of,the past. This publication is divided into thr section's: language areit, history, and tht humanities. Each section beginswith a scope and sequence .outline. Examples oflesson activities fellow. point of view of . In the language arts lessons, students identify the the lyricist in selected songs by blacks,'participatein debate, give speeches, view and write a brief suinmary of the key ccnceptsin e. alven-teleyision program, and.create a dramatic scene based eke song lyric. The history lesso1s invelve'itudents in identifying characteristics of West African culture reflected in the music of black people; examining slavery, analyzing the music elpest-Civil War America, and comparing the Tanner in whichmusical etyles reflect social and political forces.A multicultural unit on dance and, poetry is provided for humanities courses.
    [Show full text]
  • December 1983
    Cover Photo by Ebet Roberts FEATURES CARL PALMER Despite his many years in the business, Carl Palmer has managed to remain enthusiastic and innovative in his approach to music. Here, he discusses such topics as the differences between being a member of Asia and being the drummer with Emerson, Lake & Palmer, and his approach to drum solos. b y R i c k M a t t i n g l y 8 Photo by Ebet Roberts SIMON KIRKE e t R o b e r t s First coming to prominence with the group Free, and then moving on to Bad Company, Simon Kirke has established himself as one of those drummers who has been a role model for other drummers. He talks about his background, his drumming, and his current P h o t o b y E b activities. by Simon Goodwin 14 ANTHONY J.CIRONE A percussionist with the San Francisco Symphony, a teacher at San Jose State College, and a composer of percussion music, Cirone discusses his classical training at Juilliard, his teaching methods, careers in music today, and his personal philosophy for leading a well-integrated and diverse life-style. by Rick Mattingly 18 DRUM COMPUTERS A Comparative Look by Bob Saydlowski, Jr. 24 r e g T o l a n d d n a l o T g e r J.R. MITCHELL Creative Survival P h o t o b y G G y b o t o h P by Scott K. Fish 28 STRICTLY TECHNIQUE PORTRAITS COLUMNS Focus on Bass Drum Kwaku Dadey 94 by Paul R.
    [Show full text]
  • JVVWL VOL.6 B5 24P.Indd
    Jazz Vintage Vinyl Want List Vol.6 BLUE NOTE, PRESTIGE, RIVERSIDE +MERCURY/ CLEF/NORGRAN/VERVE BLUE NOTE 1500番台 MILES DAVIS MILES DAVIS THE JAZZ MESSENGERS THE JAZZ MESSENGERS Vol. 1 Vol. 2 At The Cafe Bohemia, Vol. 1 At The Cafe Bohemia, Vol. 2 （BLP1501／LEX／DG／FLAT／額縁） （BLP1502／LEX／DG／FLAT／額縁） （BLP1507／LEX／DG／FLAT／額縁） （BLP1508／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥30,000 10%UP→ ¥33,000 価格 ¥30,000 10%UP→ ¥33,000 THELONIOUS MONK THELONIOUS MONK THAD JONES JUTTA HIPP Genius Of Modern Music, Genius Of Modern Music, Detroit-New York Junction At The Hickory House, Vol. 1 Vol. 1 Vol. 2 （BLP1513／LEX／DG／FLAT／額縁） （BLP1515／LEX／DG／FLAT／額縁） （BLP1510／LEX／DG／FLAT／額縁） （BLP1511／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥25,000 10%UP→ ¥27,500 価格 ¥35,000 10%UP→ ¥38,500 価格 ¥70,000 10%UP→ ¥77,000 価格 ¥70,000 10%UP→ ¥77,000 JUTTA HIPP HORACE SILVER HERBIE NICHOLS ART BLAKEY At The Hickory House, Vol. 2 And The Jazz Messengers Trio A Night At Birdland Vol.1 （BLP1516／LEX／DG／FLAT） （BLP1518／LEX／DG／FLAT／額縁） （BLP1519／LEX／DG／FLAT／額縁） （BLP1521／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥80,000 10%UP→ ¥88,000 価格 ¥25,000 10%UP→ ¥27,500 価格 ¥30,000 10%UP→ ¥33,000 価格 ¥40,000 10%UP→ ¥44,000 ART BLAKEY KENNY BURRELL KENNY DORHAM CLIFFORD BROWN A Night At Birdland Vol.2 Introducing Round About Midnight At The Memorial Album （BLP1522／LEX／DG／FLAT／額縁） （BLP1523／LEX／DG／FLAT／額縁） Cafe Bohemia （BLP1526／LEX／DG／FLAT／額縁） （BLP1524／LEX／DG／FLAT／額縁） 買取 買取 買取 買取 価格 ¥40,000 10%UP→ ¥44,000 価格 ¥50,000 10%UP→ ¥55,000 価格 ¥100,000 10%UP→ ¥110,000 価格 ¥80,000 10%UP→ ¥88,000
    [Show full text]
  • (P) Red Mitchell
    TJD-Online: Red Mitchell Page 1 of 58 [F4693] Add Tony Fruscella Debut : Tony Fruscella (tp) Chick Maures (as) Bill Triglia (p) Red Mitchell (b) Dave Troy (d) New York, December 10, 1948 151A Foo's Spotlite (E)SPJ126 153B Flues - 154B Oh yeah - 155A Little Orgg - 155B Little Orgg - 156A Out of nowhere - 156B Out of nowhere - 163A Flues - Note: All above titles also on Cool N' Blue (Swi)C&B-CD107 [CD] titled "Tony's blues" see 1955 and November 7, 1955 for the rest of this CD. All above titles also on The Jazz Factory JFCD22808 [CD] titled "Tony Fruscella - Complete Studio Recordings"; see various flwg sessions to April 1955 and Stan Getz for rest of this 2 CD set. All above titles also on The Jazz Factory (Sp)JFCD44401 [CD] titled "Tony Fruscella - The Complete Works"; see various flwg sessions to November 7, 1955 and Stan Getz for rest of this 4 CD set. [R5274] Add Joe Roland Joe Roland Quintet : Ray Turner (ts) Joe Roland (vib) Red Mitchell (p) Joe Puma (g) Paul Sziglay (b) Paula Castle (vcl) New York, July 21, 1949 Leaving town tonight (unissued) Derby Harry the eight Rainbow LP708 Free of charge - A fool and his love (unissued) Note: Rainbow issued as by "Chubby Jackson's All Stars" but is is in fact a Joe Roland Group. [V1382] Add Charlie Ventura Charlie Ventura And His Orchestra : Teddy Kaye (p) Red Mitchell (b) replace Roy Kral, Kenny O'Brien, Betty Bennett (vcl) Beverley Brooks (vcl) Jimmy Vanelli (vcl) added New York, August 12, 1949 D9VB284 Boptura (cc,bg,cv vcl) Vic 20-3552, LP3046, RCA (F)NL46031, Fresh Sound (Sp)NL46031 D9VB2144 Feather's den (bb,bb vcl) Vic 20-3635, LPM1135, Fresh Sound (Sp)LPM1135, RCA (F)NL46031, Fresh Sound (Sp)NL45958 D9VB2145 Yankee clipper (betty b vcl) Vic 20-3552, LPM1135, Fresh Sound (Sp)LPM1135, NL45958 D9VB2146 Lotus blue Vic 20/50-0103, LPM1135, Fresh Sound (Sp)LPM1135, RCA (F)NL46031, Fresh Sound (Sp)NL46031 D9VB2147 Honey (jv vcl) RCA (F)NL46031, Fresh Sound (Sp)NL46031 Note: All above titles also on Classics (F)1215 [CD].
    [Show full text]
  • Race, Culture, and BB King's Live in Cook County Jail
    1! of !91 Please Accept My Love: Race, Culture, and B.B. King’s Live in Cook County Jail by: Tre Polk A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by: _____________________________ Advisor: Professor Darren Grem ______________________________ Reader: Professor Adam Gussow _____________________________ Reader: Professor Ted Ownby 2! of !91 Dedication I would like to dedicate to this thesis to my late aunt, Julie Walker, who passed away during the process of writing of this work. I hope you understood how much we all loved you. You will, forever, be missed. 3! of !91 Acknowledgements First, I would like to thank Dr. Grem for advising me throughout the entire process of creating, organizing, and drafting this thesis. Under your guidance, my ability to write and research has grown exponentially. This thesis, as it stands today, would not exist without your help and input. Second, I would like to thank all of the individuals who helped proofread my work throughout the writing process including: Brooke Thomas, my mother, Cheryl Sullivan, Mrs. Sherri Blankenship, and all of the unlucky souls that helped me at the Writing Center in my hours of need. Specifically, I would like to thank Jordan Walker who, despite recently losing her mother and returning from mission work in Haiti, took the time to edit and review my second chapter. You are the best. I would also like to thank Jarrod Lee who, while not influencing this thesis directly, introduced me to the blues when I was a kid.
    [Show full text]
  • Nar Haslewood
    N.A.R. HASLEWOOD SADMAN RECORDS NEWS 63 SADMAN RECORDS AUCTION CLOSING: MONDAY, November 2nd 2020 P.O. BOX 1413 LEICESTER LE2 8ZE U.K. TEL: (0044) 0116 270 6325 MOBILE: (0044) 07968 327155 E-MAIL: [email protected] www.sadmanrecords.com Welcome to Sadman Records News 63. Again, there is a mixture of set-price and auction items. As usual, the set-price records can be ordered, paid for and sent to you now. Alternatively, the set-price items can be reserved and paid for at a later date, either when the auction closes or put aside and collected from an upcoming record fair (see below). Again, there is no LP auction this time; instead there is a larger modern jazz set-price list. Finally, I need to point out that 2020 may well be the last year that I send out such large lists. I am aiming to at least partially retire by the end of the year. This means that I want to sell large quantities of my remaining stock. I have now managed to sell most of my excess stock of 78s. However, if you, or anyone you know, are interested in buying a quantity of LPs, please get in touch. SEE YOU AT THE RECORD FAIR: For the first time for as long as I can remember, this regular feature of our lists is a blank. This is, of course, not through any dimunition in our enthusiam for such events but as a result of the current crisis we are all living through. At present the Utrecht Fair in November is still pencilled in but I fear, in the end, this event will go the same way as the one that should have been held in April.
    [Show full text]
  • Big City Blues: a Novel with a Critical
    BIG CITY BLUES: A NOVEL WITH A CRITICAL PREF ACE EXPLORING BLUES FORM AND THEME IN CONTEMPORARY LITERATURE By PHILIP HELDRICH Bachelor of Arts University of California, San Diego La Jolla, California 1988 Master of Arts Kansas State University Manhattan, Kansas 1993 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 1997 COPYRIGHT By Philip Joseph Heidrich May, 1997 BIG CITY BLUES: A NOVEL WITH A CRITICAL PREFACE EXPLORING BLUES FORM AND THEME IN CONTEMPORARY LITERATURE Thesis Approved: ~v-is-er-.--- Dean of the Graduate College ii ACKNOWLEDGMENTS In preparing the critical preface, I wish to thank Dr. Brian Evenson for his direction and support, Dr. Edward Jones for his valuable critical eye, Professor Mark Cox for his guidance, and Dr. Patricia Long for her valuable criticism from a vantage point outside the department of English. In helping me throughout various stages in the writing and the editing of the novel, again, I wish to thank Dr. Brian Evenson. I must also give a special thanks to Dr. Steve Heller for his encouragement, direction, and criticism. Likewise, Dr. Gordon Weaver provided support in numerous ways. Let me also thank my wife, Christine NeiB, for her inspiration and patience. My mother, Constance Bellisario Heidrich, also provided continual emotional support, and Donna Neill broke all mother-in-law stereotypes with her encouragement. I wish also to thank the Department of English, especially Dr. Jeffrey Walker fot his guidance, and I wish to note the important financial contributions of the Oklahoma State University Foundation Endowed Distinguished Graduate Fellowship.
    [Show full text]
  • Downloaded, Viewed, and Listened To
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 We Are the Blues: Individual and Communal Performances of the King Biscuit Tradition Robert Webb Fry II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC WE ARE THE BLUES: INDIVIDUAL AND COMMUNAL PERFORMANCES OF THE KING BISCUIT TRADITION By ROBERT WEBB FRY II A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2010 Copyright © 2010 Robert Webb Fry II All Rights Reserve The members of the committee approve the dissertation of Robert Webb Fry II defended on March 29, 2010. __________________________________ Frank D. Gunderson Professor Directing Dissertation __________________________________ Leigh H. Edwards University Representative __________________________________ Michael B. Bakan Committee Member __________________________________ Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicate this dissertation to my wife, Laura, and our two children, Lillian and Oliver. Without their patience, support, and love, the completion of this project would not have been possible. iii ACKNOWLEDGEMENTS This dissertation, like the performance and realization of the King Biscuit Festival, is a collaborative effort among all those who attend, participate in, and perform Helena’s annual celebration of the blues. The research for this dissertation would have been impossible without the kindness and generosity of festival organizers, locals of Helena, performers, and the many fans that I have met and befriended over the last seven years.
    [Show full text]